Word: soundtrack
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...judicious responses to Carter's gaffes the GOP has proved content the last two weeks to go with the Big Mo. It has allowed the ultra-conservative elements to exert influence disproportionate to their support among the electorate. Former president Gerald R. Ford was introduced by a film whose soundtrack featured the melancholy ode "What I Did for Love." In his speech, he insisted he was not an elder statesman; he pledged that he would be active in campaigning to defeat Carter while failing to mention whether he would try to move the party back to a more responsible, centrist...
...measured by a sickeningly warped sense of time that is disturbing even when it is almost boring. Intertitles warn of a slowly decreasing time frame measured first in months, and finally in minutes. Through the film, Kubrick never loses his eye for detail, using red to fantastic effect. The soundtrack groans initially with laughably melodramatic tones but turns into a collection of distorted household noises: plumbing gargles, airplane take-offs, TV gibberish, heartbeats, breathing, and chanting...
...shown through funny photography, strange sound effects and bizarre syntax--they are easy to recognize, easy to label "insane," and hence easy to ignore and dismiss. One wonders why it is that schizophrenics are so often shown on split screens, or with funny echo-chambered voices whispering on the soundtrack. And what does this have to do with the genuine condition, which is abnormal precisely because it is not occurring in the realm of special effects...
...headed ability to craft folkie ballads and to spit sizzling rockers while avoiding accusations of hypocrisy. Young is serious about both styles, and his integrity defies critics who claim that he has never committed himself to one type of music. The final installment of Rust is the soundtrack of the movie, Live Rust, a double-album set which stands on its own as a summary of Young's 16-year career...
Brest's dramatic style is all too literally geratic. His method of shifting mood from farce to pathos is to slow down the tempo of the soundtrack score. He telegraphs each plot point so far ahead that every event seems like a repetition: when Burns silently dreams up his robbery scheme, one can almost see a bulb turn on over his head. Many scenes are mercilessly padded with gratuitous reaction shots or pointless bits of local color; for this director, the shortest distance between two points is a figure eight...